Tickets are now on sale for the first in a series of
events celebrating the talented specialists behind the James Bond films.
Lyricist Don Black and composer David Arnold will be in conversation with
broadcaster and writer Edith Bowman on Tuesday 20 March 2018 at the London Film
Museum, home to the Bond in Motion exhibition.

Bowman will be talking to Black and Arnold about the songwriting process and
the inspiration for their songs.

Award-winning lyricist, Black has written over a hundred
songs for motion pictures including a quintet of James Bond theme songs - Thunderball,
Diamonds Are Forever, The Man With The Golden Gun, ‘Surrender’ from Tomorrow
Never Dies, and The World is Not Enough.

A fan of the James Bond film series and its music from an early age, Arnold is
best known for scoring Tomorrow Never Dies, The World Is Not Enough, Die
Another Day, Casino Royale and Quantum of Solace.

A huge movie fan and respected film presenter, broadcaster Edith
Bowman has hosted TV and radio shows across all the major networks. She
has her own successful podcast, Soundtracking, which explores the relationship
between film and music.

The evening will commence at 6:30 pm with a Champagne Bollinger reception during
which guests may enjoy the Bond in Motion exhibition which features over 100
original items from the long-running film franchise including cars, boats,
motorbikes, concept drawings, storyboards, costumes, and model miniatures. The
event will finish at 8 pm.

London Film Museum is located at 45 Wellington Street,
Covent Garden, London, WC2E 7BN.

Tickets will be dispatched up until 4:00pm Friday 16th
March. Following this time, please select the "Click &
Collect" option at checkout to pick up your tickets directly from London
Film Museum.

Tony Curtis, like most aspiring screen stars, slogged through bit parts in unmemorable films when he first broke into the industry in the late 1940s. By the mid-1950s, however, he was a major star, even if the films he top-lined were relatively undistinguished. With his boyish good looks and New York wise guy persona, Curtis excelled at playing charismatic rogues and, perhaps improbably for a guy born in the Bronx, cowboys, knights and other exotic men of action. But Curtis was more than just a pretty face and by the late 1950s he was getting challenging roles that allowed him to show off his dramatic acting skills. He was brilliant in "Sweet Smell of Success" and "The Defiant Ones" and gave one of the great comedic performances of all time in Billy Wilder's "Some Like It Hot". By the late 1960s, however, his star power was fading. He still had enough clout to get the male leads in lightweight comedies like "Sex and the Single Girl" and "Don't Make Waves", but the bloom was off the rose. Ironically, he won fine reviews for his convincing performance in the 1968 film "The Boston Strangler", but most of the good roles would continue to elude him. Like many fading American stars, he turned toward European productions, starring in "Those Daring Young Men in the Jaunty Jalopies" and "You Can't Win 'Em All", the latter with fellow U.S. import Charles Bronson who found major stardom in Europe long before he became a big name in America. One of the least prestigious films that Curtis appeared was titled "On the Way to the Crusades, I Met a Girl Who...", a 1967 sex comedy filmed in Italy and which would not be released in the USA until 1969, when it had limited distribution. Perhaps because theater owners in the UK and USA had pity on the poor souls who had to stand on ladders and put film titles on theater marquees letter-by-letter, the English language version of the film was shortened to the more provocative "The Chastity Belt". Curtis wasn't the only English-speaking actor in the otherwise all-Italian production, as Hugh Griffith and John Richardson were co-starred.

The film opens with Curtis playing against type as Guerrando de Montone, a sniveling, cowardly and bumbling opportunist who finally is granted his wish to be made a knight. As his reward, he is entitled to claim a vast tract of land as his own. Guerrando is quick to abuse his power over the peasants, especially when he discovers that the local game warden and his voluptuous daughter, Boccadoro (Monica Vitti) live on his land. Although Boccadoro is initially attracted to him, Guerrando's misogynistic ways quickly alienate her. Guerrando informs her that he is her lord and master and will use her for sexual pleasure whenever he pleases. Most of the fun in the script, which was co-written by the esteemed Larry Gelbart, centers on the buxom beauty's strategies to avoid going to bed with Guerrando, who becomes increasingly frustrated. To solve the problem, he forces her to marry him but she delays the consummation of the marriage by invoking a rare, ancient ritual that commits them both to spending three days in constant prayer. When that obstacle is removed, Guerrando is ready to make his move only to find that he has been summoned to join the Crusades and leave Italy for a period of years. To ensure that Boccadoro remains chaste, he has her fitted with a chastity belt which causes her to swear vengeance. The film meanders through the couple's misadventures with Boccadoro intent on finding her husband and murdering him. She poses as a knight in armor and infiltrates his camp but both are kidnapped by an evil, horny sultan (Hugh Griffith) who forces Guerrando to convert to Islam while he makes plans to open the chastity belt and have his way with Boccadoro.The whole thing ends in a madcap chase with heroes and villains chasing each other about a castle.

Italian cinema-goers were very enamored of sex farces during this period. "The Chasity Belt" is one of the tamest, as there is no nudity and the most provocative aspects are plentiful shots of Ms. Vitti's ample bosom bouncing around during the many chase scenes. Like most films of the genre, there are plenty of moments of slapstick and narrow escapes. What impresses most about this modest production is director Pasquale Festa Campanile's light touch and the ability to move the action at such a rapid pace that you don't ponder how predictable it all is. While it's still a bit of a shock to see someone of Curtis's stature in this "B" level comedy, he is in good form and provides plenty of laughs by not even attempting to disguise his New Yawk accent. He is matched by the very likable Vitti and Hugh Griffith, who recycles his lovable rascal shtick from "Ben-Hur". What is stands out most are the rather spectacular locations. Most of the action is shot outdoors in ancient ruins and castles that add a good deal of atmosphere to the goings on.

"The Chasity Belt" is the kind of film that Curtis probably did very reluctantly. He would later try his hand in television co-starring with Roger Moore in the sensational action series "The Persuaders", but it lasted only 24 episodes. A later series, "McCoy" lasted only a single season. Curtis would still turn up in a few major films like "The Mirror Crack'd" and "The Last Tycoon" but only in supporting roles. Nevertheless, he remained enjoyable to watch and always gave his best effort. Perhaps for that reason, "The Chastity Belt" is a lot more worthwhile than you might imagine.

The Warner Archive DVD is generally very good with a few blotches and grainy frames, but one suspects there aren't too many archival prints of this long-forgotten film floating around out there. There are no bonus extras.